The Solfatara volcano at Pozzuoli
| Reference: | S45929 |
| Author | Pieter Van der Bortch |
| Year: | 1587 |
| Measures: | 300 x 220 mm |
| Reference: | S45929 |
| Author | Pieter Van der Bortch |
| Year: | 1587 |
| Measures: | 300 x 220 mm |
Description
Spectatoribus Phil. Gallaeus. Forum Vulcani vocavit antiquitas, locum in agro Puteolano, quem hodie vulgo La Solfatara appellant. Campum Phlegreum nominant qui fabulis delectatur Poeticis. Hunc vobis rerum naturalium admiratoribus exhibem ad vivum manu excellentissimi pictoris / Joan. Strad. Brugensis depictu boni consulite 1587.
View of Pozzuoli; a view of the Solfatara volcano at Pozzuoli, near Naples; visitors seen on foot or on donkey, some carried in sedan chairs; numerous fumaroles issue smoke; a view of the bay in the background, to left.
Engraving, lettered at centre on image with eight lines in Latin: 'SPECTATORIBUS PHILIP. GALLEUS...1587'. After Jan van der Straet called Stradano o Stradanus (Bruges 1523 - Firenze 1605).
Very rare and early view of Pozzuoli published in Antwerp by Philip Galle. Baroni Vannucci describes the only example known to her, in the Albertina in Vienna: “Citata da Hollstein se ne trova un esemplare a Vienna. Non si conoscono disegni preparatori”.
Other examples known to us are those in the British Museum, Rijks Museum and Biblioteque Nationale de France, as well as the one described in the publication Piante e vedute di Napoli dal 1486 al 1599: “Jan van der Straet (Giovanni Stradano), mentre utilizza Napoli come citazione iconografica per ambientarvi scene di pesca o una razza di cavalli, descrive con attenzione e precisione documentaria Pozzuoli e la solfatara” (cfr. E. Bellucci, Cenni sull’affermazione di un nuovo genere editoriale, in “Piante e vedute di Napoli dal 1486 al 1599”, pp. 13-14).
Pieter or Peeter van der Borcht (c. 1535 Mecheln or Brussels – 1608 Antwerp) was a Flemish Renaissance painter, draughtsman and etcher. The subjects of his work are genre, historical and religious themes. There is some debate as to whether works executed under the name Pieter van der Borcht were made by a single artist or several artists with the same name. The attributed works include a large number of drawings, engravings, etchings and woodcuts that were mostly used as book illustrations. The themes of these works include biblical and mythological subjects, genre scenes, pictures depicting the months and botanical illustrations.
Magnificent proof, impressed on contemporary laid paper, with very thin margins, in excellent condition.
Bibliografia
New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (378); Baroni Vannucci 1997 / Jan van der Straet, detto Giovanni Stradano, flandrus pictor et inventor (786); Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (422); E. Bellucci, Cenni sull’affermazione di un nuovo genere editoriale, in “Piante e vedute di Napoli dal 1486 al 1599”, pp. 13-14; Peeter van der Borcht, p. 249; p. 248, cat.nr. 208; Philips Galle, Marjolein Leesberg, Manfred Sellink, p. 249, cat.nr. R 16.
Pieter Van der Bortch (1535 circa - 1608)
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Pieter or Peeter van der Borcht (c. 1535 Mecheln or Brussels – 1608 Antwerp) was a Flemish Renaissance painter, draughtsman and etcher. He is regarded as one of the most gifted botanical painters of the 16th century. Pieter van der Borcht the Elder also introduced new themes such as the 'monkey scene' (also called 'singerie') into Northern art. He was born in Mechelen, where there are indications that Pieter van der Borcht was the son of Jacques van der Borcht, an artist who was regarded in 1562 as the dean of the Mechelen Guild of Saint Luke. Pieter van der Borcht is recorded in 1564 as working from Mechelen for Christopher Plantin, who operated a famous book printing and publishing enterprise in Antwerp. He supplied Plantin with the drawings for the engravings for many scientific publications by Plantin such as the works of Rembert Dodoens, Carolus Clusius and Matthias de l'Obel. While van der Borcht was still living in Mechelen in 1572, the city, which had risen against the Spanish occupiers was retaken and sacked by Spanish troops under the Duke of Alva. The plundering of the city lasted for three days. Van der Borcht and his family were able to flee to Antwerp. Here Plantin gave them free lodgings in his own house. A letter of Plantin testifies to the fact that the departure from Mechelen of the van der Borcht family must have been very sudden, as on their arrival in Antwerp both parents were sick and their children naked. Van der Borcht did not leave Antwerp, where he became a full-time assistant of Plantin. He illustrated many liturgical books published by Plantin, mainly for the Spanish market. He probably became a member of the Antwerp Guild of Saint Luke in 1580 and was its dean from 1589 to 1592. Some art historians have questioned that the ‘Pieter Verborcht, painter’ who became a master in the Guild of Saint Luke in Antwerp in 1580 and served as its dean in 1591 and 1592 was the same as Pieter van der Borcht (I) since it was unlikely that a non-citizen would be allowed to hold this position in the Guild at that time. Pieter had a son also called Pieter van der Borcht, who became an artist. It is not clear whether he is one of the painters active under that name in Brussels. The first published work of art attributed to Pieter van der Borcht (I) was printed in 1552 by Jacob van Liesvelt's son Hans van Liesvelt II in a book written by Frans Vervoort entitled Dat vyants net, der booser wercken raet, visioenen ende met alder sijnder verholender stricken. The book contains 17 woodcut illustrations. The final illustration is an image of the Virgin Mary holding the symbol of the city of Mechelen and was signed "Fecit Petrus van der Boercht 1552". In 1564 Pieter van der Borcht made the drawings but not the woodcuts for an emblem book (the Emblemata of Sambucus) for Plantin. This was followed by a commission in 1565 to make 60 drawings of plants for a herbarium written by Rembert Dodoens, the Frumentorum, leguminum, palustrium et aquatilium herbarum historia. Both author and publisher were very happy with the quality of van der Borcht's drawings and he became the regular illustrator for Plantin's numerous botanical books. Van der Borcht made drawings for Clusius' Rariorum aliquot stirpium per Hispanias observatarum historia (1567) (one of the earliest books on Spanish flora), which were cut by Gerard van Kampen. The originals of these drawings are contained in the Libri picturati A. 16-31 held by the Jagiellonian Library of the Jagiellonian University in Kraków (originally in the former Preussischer Staatsbibliothek of Berlin). The 1.400 drawings are of very high quality. Van der Borcht made more than 3,180 botanical watercolours for Plantin. These drawings were the basis for woodcuts made by three of Plantin’s regular woodcutters known by name: Arnold Nicolaï, and later Gerard van Kampen and Cornelis Muller. Pieter van der Borcht later began to engrave his own work. He was one of the first to work in the new medium of copperplate engraving and etching that came into use after 1564. This medium finally replaced woodcuts in most of Plantin's publications. Pieter van der Borcht also designed a number of official printer's marks of Plantin.
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Pieter Van der Bortch (1535 circa - 1608)
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Pieter or Peeter van der Borcht (c. 1535 Mecheln or Brussels – 1608 Antwerp) was a Flemish Renaissance painter, draughtsman and etcher. He is regarded as one of the most gifted botanical painters of the 16th century. Pieter van der Borcht the Elder also introduced new themes such as the 'monkey scene' (also called 'singerie') into Northern art. He was born in Mechelen, where there are indications that Pieter van der Borcht was the son of Jacques van der Borcht, an artist who was regarded in 1562 as the dean of the Mechelen Guild of Saint Luke. Pieter van der Borcht is recorded in 1564 as working from Mechelen for Christopher Plantin, who operated a famous book printing and publishing enterprise in Antwerp. He supplied Plantin with the drawings for the engravings for many scientific publications by Plantin such as the works of Rembert Dodoens, Carolus Clusius and Matthias de l'Obel. While van der Borcht was still living in Mechelen in 1572, the city, which had risen against the Spanish occupiers was retaken and sacked by Spanish troops under the Duke of Alva. The plundering of the city lasted for three days. Van der Borcht and his family were able to flee to Antwerp. Here Plantin gave them free lodgings in his own house. A letter of Plantin testifies to the fact that the departure from Mechelen of the van der Borcht family must have been very sudden, as on their arrival in Antwerp both parents were sick and their children naked. Van der Borcht did not leave Antwerp, where he became a full-time assistant of Plantin. He illustrated many liturgical books published by Plantin, mainly for the Spanish market. He probably became a member of the Antwerp Guild of Saint Luke in 1580 and was its dean from 1589 to 1592. Some art historians have questioned that the ‘Pieter Verborcht, painter’ who became a master in the Guild of Saint Luke in Antwerp in 1580 and served as its dean in 1591 and 1592 was the same as Pieter van der Borcht (I) since it was unlikely that a non-citizen would be allowed to hold this position in the Guild at that time. Pieter had a son also called Pieter van der Borcht, who became an artist. It is not clear whether he is one of the painters active under that name in Brussels. The first published work of art attributed to Pieter van der Borcht (I) was printed in 1552 by Jacob van Liesvelt's son Hans van Liesvelt II in a book written by Frans Vervoort entitled Dat vyants net, der booser wercken raet, visioenen ende met alder sijnder verholender stricken. The book contains 17 woodcut illustrations. The final illustration is an image of the Virgin Mary holding the symbol of the city of Mechelen and was signed "Fecit Petrus van der Boercht 1552". In 1564 Pieter van der Borcht made the drawings but not the woodcuts for an emblem book (the Emblemata of Sambucus) for Plantin. This was followed by a commission in 1565 to make 60 drawings of plants for a herbarium written by Rembert Dodoens, the Frumentorum, leguminum, palustrium et aquatilium herbarum historia. Both author and publisher were very happy with the quality of van der Borcht's drawings and he became the regular illustrator for Plantin's numerous botanical books. Van der Borcht made drawings for Clusius' Rariorum aliquot stirpium per Hispanias observatarum historia (1567) (one of the earliest books on Spanish flora), which were cut by Gerard van Kampen. The originals of these drawings are contained in the Libri picturati A. 16-31 held by the Jagiellonian Library of the Jagiellonian University in Kraków (originally in the former Preussischer Staatsbibliothek of Berlin). The 1.400 drawings are of very high quality. Van der Borcht made more than 3,180 botanical watercolours for Plantin. These drawings were the basis for woodcuts made by three of Plantin’s regular woodcutters known by name: Arnold Nicolaï, and later Gerard van Kampen and Cornelis Muller. Pieter van der Borcht later began to engrave his own work. He was one of the first to work in the new medium of copperplate engraving and etching that came into use after 1564. This medium finally replaced woodcuts in most of Plantin's publications. Pieter van der Borcht also designed a number of official printer's marks of Plantin.
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